Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 9204929; Fri, 17 Dec 2004 03:00:42 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #230 Date: Fri, 17 Dec 2004 03:00:16 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-5.3 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #230 1. Re: Comment on lighting design by "James, Brian" 2. Re: the ethos of sound (and light?) by "Tony" 3. Re: Rosco 1500 Repairs by Cosmo Catalano 4. Triscuits by Cosmo Catalano 5. Civility & Passion by "Stephen E. Rees" 6. Re: Stock Platform "texas triscut" system question by Michael Powers 7. OT: Holiday advice by "CATHERINE BRUMM" 8. Re: tilting at windmills? by "Paul Schreiner" 9. Triscuit Lite by murr rhame 10. Re: Stage Combat Choreographers... by Stephen Litterst 11. Re: rosco 1500 fogger by Stephen Litterst 12. Re: Triscuits by Mike Brubaker 13. Re: Stage Combat philosophies by "Paul Schreiner" 14. Re: rosco 1500 fogger by Nathan Kahn/Look Solutions 15. cheapo foggers by "Karl G. Ruling" 16. Re: Stage Combat Choreographers... by "Booth, Dennis" 17. Re: tilting at windmills? by "Delbert Hall" 18. Re: tilting at windmills? by "Paul Schreiner" 19. Re: the ethos of sound (and light?) by Jerry Durand 20. Re: the ethos of sound (and light?) by FrankWood95 [at] aol.com 21. Re: tilting at windmills? by FrankWood95 [at] aol.com 22. Re: tilting at windmills? by "Paul Schreiner" 23. Re: Civility & Passion by "Dr. Randall W.A. Davidson" 24. Re: Stage Combat Choreographers... by FrankWood95 [at] aol.com 25. Re: Stage Combat philosophies by FrankWood95 [at] aol.com 26. Barnum tightrope by "LES LIND" 27. Re: Barnum tightrope by IAEG [at] aol.com 28. Re: Barnum tightrope by Greg Bierly 29. Re: Stage Combat Choreographers... by Wood Chip-P26398 30. Re: Stage Combat Choreographers... by Jerry Durand 31. Re: rosco 1500 fogger by "Phil Johnson" 32. Re: Holiday advice by Wood Chip-P26398 33. Re: Comment on lighting design by "Michael Finney" 34. Saw Stop, I LOVE THEM by "Stirling Shelton" 35. Re: Barnum tightrope by "Delbert Hall" 36. Marting Fogger (was: Re: rosco 1500 fogger) by CB 37. Re: Barnum tightrope by MissWisc [at] aol.com 38. Re: (ot)Barnum tightrope by Greg Bierly 39. Re: Fire in Tucson Convention Center Arena by CB 40. Re: Barnum tightrope by Greg Bierly 41. Re: Barnum tightrope by Christopher Haas CEHAAS 42. Re: contrast ratios by CB 43. Re: Barnum tightrope by Greg Bierly 44. Re: Saw Stop, I LOVE THEM by gregg hillmar 45. Re: the ethos of sound (and light?) by Jerry Durand 46. Re: cheapo foggers by Nathan Kahn/Look Solutions 47. Re: tilting at windmills? by FrankWood95 [at] aol.com 48. Re: contrast ratios by FrankWood95 [at] aol.com 49. Re: the ethos of sound (and light?) by FrankWood95 [at] aol.com 50. Re: the ethos of sound (and light?) by Charlie Richmond 51. Meilziner memorabilia for sale by "RICHARD FINKELSTEIN" 52. Re: the ethos of sound (and light?) by Dorian Kelly *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Subject: RE: Comment on lighting design Date: Thu, 16 Dec 2004 01:23:11 -0500 Message-ID: <89DE71075FCD6E44A4D117FBFBBD801CE97D2C [at] fangorn.cc.vt.edu> From: "James, Brian" Todd, You have some very nice photos. Based only on seeing photos it seems = that you either have the stage well lit and focus on ensuring = visibility, or dimly lit and you focus on environment. There seems to be = a lacking of blending these two styles. Again the above is strictly = based only on photos fro what I assume is a over an hour of actual = material. So based on limited information, it would seem that maybe = gobos and texture were missing or limited. I tend to be a very texture = oriented designer when it is my show, and rely heavily on distribution = in conjunction with gobos and color, but then again that may be the = entirely wrong approach for this show. That all being said, it seems more information about what your trying to = achieve and what the design team as a whole was looking for would be = helpful for any real and valuable input. That all being said. What was the concept? What was the style of play = (comedy, drama, etc), what are the prevailing themes, etc. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Todd Lipcon Sent: Wednesday, December 15, 2004 6:38 PM To: Stagecraft Subject: Comment on lighting design For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi all, I've recently completed my biggest/most complicated lighting design to=20 date, and was hoping that some list members could take a look at some=20 photos and comment. I know that photos don't tell the full story of a=20 lighting design at all, but I've done this in the past on this list, and = some of the responses have been very helpful in terms of developing=20 composition/color usage. The photos are online at: http://barbour-king-196.resnet.brown.edu/psyche/photos/photos.html If interested, plot (minus a few modifications made during tech week) is = online at: http://barbour-king-196.resnet.brown.edu/plot1.pdf http://barbour-king-196.resnet.brown.edu/plot2.pdf http://barbour-king-196.resnet.brown.edu/plot3.pdf Also, if you could recommend some "favorites" that you think would best=20 represent my work in my portfolio, I'd really appreciate it. I find it=20 hard to pick portfolio-photos myself, since my perception of them is=20 inextricably linked to too many other factors that cannot be = communicated=20 in this medium. Thanks a lot, -Todd ------------------------------ Message-ID: <028601c4e34c$cb0aaa70$0800000a [at] Tony> From: "Tony" References: Subject: Re: the ethos of sound (and light?) Date: Thu, 16 Dec 2004 08:53:59 -0000 ----- Original Message ----- From: > > I've posted the suggestion that you google "television contrast ratio" and > > see the specs for yourself, instead of taking my word for it. These specs, > > while they may not be nuts on accurate, give a general idea of what is > > available today. > > I have taken the trouble to look up the numbers, and post them. From > textbooks, written for training TV engineers. They were written by better engineers > than I. I have seen no numbers posted by you with any authority attached. > > Frank Wood > Humm.... Frank, IIRC, you posted 'data' from a 1969 text book. That can hardly be called relevant or current, as technology has advanced leaps & bounds in the last 35 years!!! Ynot ------------------------------ Date: Thu, 16 Dec 2004 08:09:01 -0500 From: Cosmo Catalano Subject: Re: Rosco 1500 Repairs In-reply-to: Message-id: References: For nozzle cleaning, a set of the round files you have for cleaning your cutting torch work well. Start small and work your way up. Obviously you don't want to increase the orifice size of the nozzle, so use some caution The worst clogs I got were after I cleaned w/ distilled water, ran the unit dry and stored it that way. Now I just leave the fluid in it and it seems very happy. ------------------------------ Date: Thu, 16 Dec 2004 08:18:16 -0500 From: Cosmo Catalano Subject: Triscuits Message-id: Lots of variation on the triscuit. I'm surprised to hear of folks installing kneewalls on 24" centers. One of the points of the "yale" model ( 2 [at] 5/8" w/ 1"x 5/4 stringers 12"OC) is to have a unit that can support 50psf and be supported on 48" centers with the panel direction properly aligned perpendicular to the kneewalls. The glue bond between stringers and ply is vital to making all the types of this unit work. Similar bonds between steel and wood are difficult to achieve. Caution, leaving the panels out in the rain is not good for this glue bond. In answer to the original question regarding "stock sizes" we have some 2x4, 6x4 and 2x8 pieces. For other shapes that would make poor stock we often frame and leg them conventionally (ply on top only) as free standing units and just screw them to the triscuit portion of the deck. Cosmo ------------------------------ Message-ID: <41C18F06.6010901 [at] fredonia.edu> Date: Thu, 16 Dec 2004 08:35:02 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Civility & Passion References: I took the liberty of changing the subject line as I've taken to dumping unopened anything with this subject for several days as commentary strayed from the point of the original post. Of course, I do read anything Unka Bill sends and I gotta say - THANK YOU FOR THE REMINDER. Rein in the invective a tad folks, the kids ARE listening! I'm all for passionate civility myself. ;) Regards, Steve Bill Sapsis wrote: > > OK kids. No more fighting. Time for bed. > Geez. [snip] ------------------------------ Date: Thu, 16 Dec 2004 09:05:34 -0500 From: Michael Powers Subject: Re: Stock Platform "texas triscut" system question Cc: mfpowers [at] theater.umass.edu (Michael Powers) Message-id: <41C1962E.8090808 [at] theater.umass.edu> Eric Rouse usctd [at] columbia.sc writes: << ....... Michael is mistaken about the size of the frame in the Tech Brief. It's actually 1-1/2" steel tube not 1". Well, they do use 1"x1-1/2" on edge ......... This is also why I mentioned that you would need to add some extra legs (compression legs would be good here) as those platforms would be significantly weaker that the triscuits............>> Eric, Mea Cupa, Mea Cupa! You're right! I quoted the steel size from memory (and at my age that ain't what it used to be!) instead of checking the article, my bad. As to the strength thing though, I think the texas triscuit is pretty strong. The steel institute load tables indicate 16 ga. 1-1/2"x1" square tube will support 550 lbs evenly distributed over a 4' span. That would mean (somebody please correct me if I'm wrong), without even figuring for the plywood lid strength, a texas triscuit should be able to handle 2200 lbs. evenly distributed. That's a lot! I don't recall what the load rating of a standard triscuit is, but I can't imagine it would be substantially more than that. Does anyone on the list recall what the load rating of a triscuit is, or where to find that info??? Anyway, thanks for catching my mistake. Michael Michael Powers, Technical Director UMass Amherst 112 FAC West Amherst, Ma. 01003 413-545-6821 Voice 413-577-0025 Fax mfpowers [at] theater.umass.edu mptecdir [at] aol.com ------------------------------ Message-Id: Date: Thu, 16 Dec 2004 09:15:25 -0500 From: "CATHERINE BRUMM" Subject: OT: Holiday advice Happy Holidays to all and Best Wishes for the coming year. Please read the following and take with the intention it was sent which was to spread some holiday cheer. Holiday Eating Tips 1. Avoid carrot sticks. Anyone who puts carrots on a holiday buffet table knows nothing of the Christmas spirit. In fact, if you see carrots, leave immediately. Go next door, where they're serving rum balls. 2. Drink as much eggnog as you can. And quickly. Like fine single-malt scotch, it's rare. In fact, it's even rarer than single-malt scotch. You can't find it any other time of year but now. So drink up! Who cares that it has 10,000 calories in every sip? It's not as if you're going to turn into an eggnog-aholic or something. It's a treat. Enjoy it. Have one for me. Have two. It's later than you think. It's Christmas! 3. If something comes with gravy, use it. That's the whole point of gravy. Gravy does not stand alone. Pour it on. Make a volcano out of your mashed potatoes. Fill it with gravy. Eat the volcano. Repeat. 4. As for mashed potatoes, always ask if they're made with skim milk or whole milk. If it's skim, pass. Why bother? It's like buying a sports car with an automatic transmission. 5. Do not have a snack before going to a party in an effort to control your eating. The whole point of going to a Christmas party is to eat other people's food for free. Lots of it. Hello? 6. Under no circumstances should you exercise between now and New Year's. You can do that in January when you have nothing else to do. This is the time for long naps, which you'll need after circling the buffet table while carrying a 10-pound plate of food and that vat of eggnog. 7. If you come across something really good at a buffet table, like frosted Christmas cookies in the shape and size of Santa, position yourself near them and don't budge. Have as many as you can before becoming the center of attention. They're like a beautiful pair of shoes. If you leave them behind, you're never going to see them again. 8. Same for pies. Apple. Pumpkin. Mincemeat. Have a slice of each. Or, if you don't like mincemeat, have two apples and one pumpkin. Always have three. When else do you get to have more than one dessert? Labor Day? 9. Did someone mention fruitcake? Granted, it's loaded with the mandatory celebratory calories, but avoid it at all cost. I mean, have some standards. 10. One final tip: If you don't feel terrible when you leave the party or get up from the table, you haven't been paying attention. Reread tips; start over, but hurry, January is just around the corner. Remember this motto to live by: "Life should NOT be a journey to the grave with the intention of arriving safely in an attractive and well-preserved body, but rather to skid in sideways, chocolate in one hand, martini in the other, body thoroughly used up, totally worn out and screaming "WOO HOO what a ride!" Remember to snip if you are going to reply. Thank you and happy holidays! Catherine K. Brumm, General Manager Minnie Evans Arts Center Wilmington, NC P910-)790-2360 x821 F)910-790-2356 cbrumm [at] nhcs.k12.nc.us www.geocities.com/nhcscbrumm/index.html ------------------------------ Subject: RE: tilting at windmills? Date: Thu, 16 Dec 2004 09:55:29 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C65F [at] exchange.rmwc.edu> From: "Paul Schreiner" > Besides, I think that this topic has run its course. On to=20 > the next windmill. Questions of personal invective (which I've tried to avoid and generally don't condone) aside... Back when I first jumped into the combat thread a day or two ago, I prefaced the whole thing with an "I can't believe I'm doing this again, but..." entirely BECAUSE the whole thing felt like an exercise in futility. But here's the thing...I had a friend who, shortly after college, nearly lost an eye in a fight rehearsal because his "partner" not only wasn't as skilled, but (more importantly) wasn't showing the level of concern for Shaun's safety that I've been stressing in my posts. I have a lot of training in combat, from some very good instructors. When I see people espousing practices that ALL of those instructors would be railing against as "unsafe", and when I myself understand much safer ways to perform the illusions involved, leaving these other comments from other individuals unchallenged in a public forum is negligent on my part. And if some of the kids get hurt because they tried something they read about here, when I didn't take full advantage of the opportunity to counter it, then I am at least partially responsible--if not legally, then karmically. At what point do we consider questions of safety and life-and-death to have "run their course"? At what point would all of you feel comfortable leaving someone else the last word, when that last word is as ill-advised in your measured, professional opinion as "Go ahead, saddle that dead horse, it don't matter!"? =20 ------------------------------ Date: Thu, 16 Dec 2004 10:02:37 -0500 (EST) From: murr rhame Subject: Triscuit Lite In-Reply-To: Message-ID: References: A couple of years ago, I built a portable work bench top using stressed skin construction. The bench top is 6ft x 2ft and just under 2 inches thick. The skins are 3/16" Luann. All framing is 1/2" by 1-1/2" (true measurements) strips ripped from a two by four. The ribs are on-end for maximum thickness. They are on 6 inch centers parallel to the long dimension. The surface grain of the Luann also runs the long way. The plank was assembled with Gorilla [tm] glue and 3d coat nails on 6 inch centers. All edges were rounded with a 1/4 inch radius round-over bit (not needed for platform decks). My portable workbench has seen a couple years of fairly heavy use. With a fresh coat of paint, it is in nearly new condition. The strength to weight ratio is amazing. Supported by saw horses at each end, this 6ft long 2ft wide plank can support a 250lb live load in the middle of the plank with very little deflection. I believe 4ft square triscuits of similar construction would work nicely for platform decks. You would need to add corner blocks to accommodate hold-down holes. I wouldn't try to roll a piano on a 3/16 inch deck skin... I also wouldn't build these in quantity without a brad nailer and construction jig to align the 1/2 inch wide ribs. On the other hand, this design is about 1/3 the material cost and weight of a Yale style triscuit. Ref: http://www.yale.edu/drama/publications/tech_brief/samples.html - murr - ------------------------------ Date: Thu, 16 Dec 2004 10:05:03 -0500 From: Stephen Litterst Subject: Re: Stage Combat Choreographers... Message-id: <41C1A41F.9AEC6868 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 15/12/04 20:51:06 GMT Standard Time, psyd [at] cox.net writes: > > > Somehow, Frank, the word "appear" seems to have been deleted from some of > > the above quoted sentences. I believe you meant to say, "every blow must > > *appear* to be aimed to hit", and "all strikes must *appear* to be aimed at > > the ooponents body". > > No, I stand by this, provided that the weapons are safe, that is to say, > non-lethal. I've kept out of this (not being a fight choreographer) until now. There is no way to make a sword non-lethal. A pointed piece of metal *always* has the ability to poke holes in the body. It just takes more force. In many ways, a dull sword is more dangerous than a properly sharpened one, simply because it will do more raw damage if it strikes. That is not to say you should sharpen all your swords. My point is that there should be no way for any of those moves or strikes to land. I have been present for some pretty scary fight accidents, and the common thread was that the weapon hit the body because it was choreographed to do that. A parry was missed or the opponent didn't step when they should. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Thu, 16 Dec 2004 10:07:41 -0500 From: Stephen Litterst Subject: Re: rosco 1500 fogger Message-id: <41C1A4BD.E8F669BF [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "RODOK!!!" wrote: > Oh oh. My Rosco rep sent cleaning instructions for the 1500 when we > purchased it.. and flushing the unit with distilled water following a > production run was cited as most important to keep the insides from > gumming up or corroding. Running dry for a few minutes and storing was > the final stage of the instructions. I must call him up and ask for > clarification. I sent my 1600 in to ROTAD for repair. ROTAD is the company that makes the foggers for Rosco and does their warranty and authorized service. I called the repair tech to ask how to avoid the problem in the future and he told me to keep the water away from the fogger. I had always flushed my machines until that point, because that's what I'd been told. Stve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: <6.1.2.0.0.20041216102750.01d2cac0 [at] mail.insightbb.com> Date: Thu, 16 Dec 2004 10:29:25 -0500 From: Mike Brubaker Subject: Re: Triscuits In-Reply-To: References: Cosmo, I may be wrong, but after seeing this a couple of times, I decided that what folks were saying is that they were building studwalls with the studs on 24" centers. The walls themselves, then, would be on 4' centers. Mike At 08:18 AM 12/16/2004, Cosmo Catalano wrote: >Lots of variation on the triscuit. I'm surprised to hear of folks >installing kneewalls on 24" centers. One of the points of the "yale" >model ( 2 [at] 5/8" w/ 1"x 5/4 stringers 12"OC) is to have a unit that can >support 50psf and be supported on 48" centers with the panel direction >properly aligned perpendicular to the kneewalls. ------------------------------ Subject: RE: Stage Combat philosophies Date: Thu, 16 Dec 2004 10:31:19 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C660 [at] exchange.rmwc.edu> From: "Paul Schreiner" > All the=20 > same, if you're doing the=20 > Scottish play, with reasonably realistic swords (2' 6" of 2"=20 > x 3.8" steel),=20 > once you have started a move it's hard to change it.=20 That's why I choreograph my fights so that you don't HAVE to change it. You set it from the beginning so that for most of the moves there is never any chance of actual contact...then, if someone goes up on one of those, you don't have to worry. > A good, solid=20 > bruise is a=20 > reminder to get it right, next time. Can you guarantee a bruise is all they'll get? No. Not unless they don't get hit in the first place. > If s/he forgets a beat or makes a wrong move, I have to > > be performing my moves in such a way that I will not--CAN =20 > > NOT--inadvertently injure my partner because of it. That's my =20 > > responsibility to the show, and to my partner, and to the audience. >=20 > The whole point of rehearsals is to make sure that this=20 > doesn't happen. And,=20 > of course, of choreographing a fight, and writing it down.=20 > That is why you=20 > need so much rehearsl time. The actors should be able to do=20 > it in their sleep. But there's still the potential for things to change during crunch time. We're human. If there weren't that potential, we might as well be giving up theatre and working in film or CGI or something else. This is live theatre. =20 > > This doesn't just hold for weapons, mind you, but any part of the =20 > > choreography...if my footwork is off, my partner needs to=20 > be able to =20 > > steer me back onto the line we had originally established. If my =20 > > partner isn't mentally 100% there that evening because of=20 > something =20 > > outside the theatre, I need to adjust accordingly. >=20 > In dance, I'll buy that. But it's unprofessional. I'd counter that the assumption that performers can't also be human, and therefore subject to all the whimsy and variation and inherent instability that can then affect their performances, is more unprofessional. Is it more professional for a performer to suck it up when they don't feel 100% and go onstage? What if the performer in question has a long fight scene or three? And if s/he goes on, do you really think that someone under the influence of the flu or cold medicine or whatever isn't going to have a performance that is a little different? > All you can really do is to tell them, if it's going=20 > wrong, is to retire=20 > out of distance, touch your blade to the floor, and then=20 > start the phrase=20 > again. There's a world of difference between "wrong" and "salvageable". I'm talking about minor adjustments to pace, to position on stage (oh, my front foot on that lunge was four inches off from where we rehearsed it and now I'm on the wrong line...). But it stil takes an understanding between partners to make those adjustments together without verbal communication. > That's why the standard > > rule of thumb is to require 1 hour of rehearsal time for every 5=20 > > SECONDS of actual, one-on-one fight time. >=20 > I like the theory, but how many shows can spare the time?=20 If the choreographer comes into the beginning of the rehearsal process and meetings with the director with this sort of expectation, you'll be a lot closer to finding the requisite amount of time. Remember also that "rehearsal time" doesn't need to be formal, nor does it require the use of the stage (blocking out its use for other rehearsals) until later in the process. ------------------------------ Message-Id: <5.0.0.25.2.20041216103354.01bfde50 [at] 212.86.129.164> Date: Thu, 16 Dec 2004 10:34:47 -0500 From: Nathan Kahn/Look Solutions Subject: Re: rosco 1500 fogger In-Reply-To: References: At 10:07 AM 12/16/2004 -0500, you wrote: > > Oh oh. My Rosco rep sent cleaning instructions for the 1500 when we > > purchased it.. and flushing the unit with distilled water following a > > production run was cited as most important to keep the insides from > > gumming up or corroding. Running dry for a few minutes and storing was > > the final stage of the instructions. I must call him up and ask for > > clarification. > >I sent my 1600 in to ROTAD for repair. ROTAD is the company that >makes the foggers for Rosco and does their warranty and authorized >service. I called the repair tech to ask how to avoid the problem in >the future and he told me to keep the water away from the fogger. I >had always flushed my machines until that point, because that's what >I'd been told. Rosco's current position is that only air pressure should be used for cleaning. They provide an air inlet on their latest models for that purpose. (AFAIK) Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ From: "Karl G. Ruling" Date: Thu, 16 Dec 2004 10:45:25 -0500 Subject: cheapo foggers Reply-to: kruling [at] esta.org Message-ID: <41C16745.21847.5A407E [at] localhost> In-reply-to: > Beware of the "Cheapo foggers"! I bought one at Wallmart a couple > of > Halloweens ago thinking it might be a low budget bonanza. > > It will only allow you to produce fog when a green light comes on, > and > the light cycles on and off periodically. (Thermostat controlled?) The > fact that the light is off - and it is in the "Won't work right now > mode" right when the fog cue comes up, makes it impractical for > theatrical work. There is only one thermostat in these cheapo foggers, and it controls a single-pole, double-throw switch. When the heater block is cold, the switch turns on power to the heater block and the light comes on. When the heater block is hot, the switch flips and disconnects the power to the heater (the light goes off) and provides power to the pump on/off switch, so if you push that, the pump runs and the machine makes fog. Note that there is no power to the heater block at this point, so you're running on stored heat, the block's thermal inertia. Making fog cools the block, and it fairly quickly gets cold enough that the thermostat flips the switch again to disconnect power from the pump and to provide power to the heater. The pump stops working, so no fog comes out of the machine until the heater block gets hot enough to cause the thermostat to flip to the other state again. If you just let the fog machine sit and don't try to make fog, it will still cycle on and off on as the heater block heats up, shuts off, loses heat to the environment, and turns on again. These cheap machines will make fog for you, but not always on cue. I have heard of some people getting around this limitation by bypassing the thermostat so that the pump switch always has power. This will let you keep pumping fog fluid through the machine long after the heater block is too cold to vaporize the fluid. Then you have a hot-glycol squirt gun. The heaters in these machines are not large enough to produce fog continuously even if powered continuously. Better machines have at least two heat-controlled switches. One controls the heater and the other controls the pump. The pump switch then only shuts off the pump when the heater is too cold to make fog, not simply when the heater needs to be warmed up some more. Even better machines have variable volume pumps and thermal controls that will throttle back the pump rate to match the heating capacity of the heater block. These will allow you to make fog continuously if you want, although at reduced volume. Note that better machines also have redundant thermostats or other over-temperature protection devices. If the main thermostat for the heater block fails in the "on" position and there is no safety backup, you could have a serious problem. The overheated fog is not something you want to breathe and the heater block may melt or start a fire. I have one of these cheapo foggers I disassemble for fog demonstrations; I haven't found its back-up overtemperature protection device, if it has any at all. You get what you pay for. ------------------------------ Subject: RE: Stage Combat Choreographers... Date: Thu, 16 Dec 2004 10:58:34 -0500 Message-ID: From: "Booth, Dennis" Thanks for that perspective, Bill. Merry Christmas, DGB Dennis Gill Booth Technical Faculty & Assistant Dean for Operations =A0 North Carolina School of the Arts=20 =A0 School of Design and Production=20 =A0 1553 South Main Street=20 =A0 PO Box 12189=20 =A0 Winston-Salem, NC=A0=A0 27117-2189=20 * Voice:=A0 (336)770-3232 x105=20 * FAX:=A0=A0 (336)770-3213=20 * Email: boothd [at] ncarts.edu=20 * D&P URL: http://www.ncarts.edu/ncsaprod/designandproduction/=20 * Faculty=A0URL: http://faculty.ncarts.edu/dandp/booth/ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill = Sapsis Sent: Wednesday, December 15, 2004 10:41 PM To: Stagecraft Subject: Re: Stage Combat Choreographers... OK kids. No more fighting. Time for bed. Geez. This list is all about advice, comments and opinions. This list is a great resource to a great number of people. This list reaches, I dunno, how many people? Noah? Anyway, it would be a nice idea if we all tried to remember that = discussions can get heated at times. We're all passionate people. Or at least passionate about what we do. But I would respectfully request that we all try to remain civil with = each other. Based on what he reads here, Johnny, the impressionable high = school sophomore who was thinking about going into this business might just = decide that being the pin boy at the local bowling alley would be a better = choice. (don't tell anyone but there are times I've thought that way too.) I have been fortunate enough to have done quite a bit of traveling and worked with many people from many lands. While we do many things differently and sometimes use different words for the equipment, the = common thread (other than poverty) is that we truly love what we do. Don't spoil it. Especially for the kids. Just my $1.75=20 (hey, the dollar is sinking pretty fast so i had to raise my rates0 be well Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ----------------------------------------------=20 This message has been scanned for viruses and dangerous content and is believed to be clean. ---------------------------------------------- ------------------------------ Message-ID: Reply-To: From: "Delbert Hall" Subject: RE: tilting at windmills? Date: Thu, 16 Dec 2004 11:02:05 -0500 Organization: Delbert Hall Message-ID: In-Reply-To: It is clear that at least two very different philosophies of stage = combat have been presented in this discussion. This is probably a result of = both the difference in the amount of training that that different members of = this list have had in stage combat, as well as the difference in the = philosophies and skill levels of the people from whom we received our training. = Based on the number of posts that Paul has made dealing with this subject and his statements in those posts, this subject is clearly of great interest to = him. I will concede that Paul has had far more training in stage combat that = I have. And since he has stated that he is closer to Wilmington than I = am, I will that fact too. Since Paul has so much interest in this subject and = is the closest member of the list to Catherine, I think we should all agree that Paul should go to Wilmington and assist Catherine with her stage = combat issues. There, we have resolved Catherine's stage combat related = problem. -Delbert =20 Delbert L. Hall, Ph.D. Professor Phone: 423-439-7912 =20 =20 -----Original Message----- > Besides, I think that this topic has run its course. On to=20 > the next windmill. Questions of personal invective (which I've tried to avoid and generally don't condone) aside... (snip) I have a lot of training in combat, from some very good instructors. When I see people espousing practices that ALL of those instructors would be railing against as "unsafe", and when I myself understand much safer ways to perform the illusions involved, leaving these other comments from other individuals unchallenged in a public forum is negligent on my part. And if some of the kids get hurt because they tried something they read about here, when I didn't take full advantage of the opportunity to counter it, then I am at least partially responsible--if not legally, then karmically. At what point do we consider questions of safety and life-and-death to have "run their course"? At what point would all of you feel comfortable leaving someone else the last word, when that last word is as ill-advised in your measured, professional opinion as "Go ahead, saddle that dead horse, it don't matter!"? =20 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.813 / Virus Database: 553 - Release Date: 12/13/2004 =20 ------------------------------ Subject: RE: tilting at windmills? Date: Thu, 16 Dec 2004 11:05:50 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C661 [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: flyingfx [at] hotmail.com > I think we should all agree that Paul=20 > should go to Wilmington and assist Catherine with her stage=20 > combat issues. There, we have resolved Catherine's stage=20 > combat related problem. What stagecraft list budget line should she be charging my expenses to? ------------------------------ Message-Id: <6.2.0.14.0.20041216075350.03910498 [at] localhost> Date: Thu, 16 Dec 2004 08:09:57 -0800 From: Jerry Durand Subject: Re: the ethos of sound (and light?) In-Reply-To: References: At 09:09 AM 12/15/2004, you wrote: >It doesn't quite work like that in the UK, and particurlarly in the BBC, >where I was trained. There was a positive obligation to provide backwards >compatibitity. When we changed from monochrome to colour, for instance, >the colour >transmissions had to be compatible with old monochrome receivers and >displays. >When new technology would have made colour transmissions simpler, from an >engineering point of view, we held to the old standards, so that people >with older >receivers were not at a disadvantage. Features of the PAL system, such as the >Bruch blanking sequence, were invented when TV sets all used valves >(tubes). It >is there to make burst locked oscillators easier to design. Superfluous now, >but it's still there. The US, of course, also maintained backward compatibility with monochrome sets (interesting that color TV was already invented by the time the first monochrome sets were sold). When I started designing computer sound/telecom boards (not the very first, but the first mass-produced ones for Vynet) it seemed just about everything ran off a color burst crystal because they were easily available. Some people went to extreme lengths to try to use that crystal. I changed things by using a 4.096MHz crystal. I figured we were going to sell a ton of these so a custom crystal was warranted vs me trying to make the color burst work. Guess I was right. >The ethos is changing. Everything is going digital, and analogue recievers >now have a limited life. It dosen't bother me personally, because I went down >the cable and satellite route years ago. But, think of those who are >making do >with an old TV, because they can't afford a new one. The change to digital doesn't keep from obsoleting receivers, it is actually speeding it up. In the USA there's a push to change the digital TV standards again, this time to take advantage of MPEG-4 (cuts bit rate in half to allow the stations to sell more secondary channels and save on disk space). I may design some of the latest things, but it doesn't mean I use them. Our office has an answering machine, not voice mail (I do have the first Vynet "Artichoke" board but it's not plugged in) and my TV set is a $300 analog set hooked up to a satellite receiver so I also don't care one bit what the transmission format is. The HDTV PC board we worked in 1989 on hangs on the wall (no parts installed on it) along with VoIP boards and parts from the Sega VR helmets. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 16 Dec 2004 12:36:10 EST Subject: Re: the ethos of sound (and light?) In a message dated 16/12/04 08:56:08 GMT Standard Time, deeming.tony [at] btinternet.com writes: > Frank, IIRC, you posted 'data' from a 1969 text book. > That can hardly be called relevant or current, as technology has advanced > leaps & bounds in the last 35 years!!! It certainly has. But rember what I said about 'backwards compatibility'. As a Public Service provider, the BBC was unwilling to change anything is a way which might have adversly affected viewers with old equipment. Look how recently the old 405-line transmitters were closed down. There are some things in TV enginering which are distinctly old fashioned. When I taught it, I sometimed had to say to my students: "If we were devising the system today, we shouldn't do it in this way." And it's true. We still faff around with intricate sequences of sync pulses which modern technology does not need, for two reasons. First, because they are still in the PAL standard, which is international, and second, to enable old equipment to continue working properly. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 16 Dec 2004 12:46:14 EST Subject: Re: tilting at windmills? In a message dated 16/12/04 14:56:51 GMT Standard Time, pschreiner [at] rmwc.edu writes: > But here's the thing...I had a friend who, shortly after college, nearly > lost an eye in a fight rehearsal because his "partner" not only wasn't > as skilled, but (more importantly) wasn't showing the level of concern > for Shaun's safety that I've been stressing in my posts. A question. Why no masks? I always insist on them, and for myself as well, until I am sure that the moves have been well and truly learned. I agree that unskilled swordsmen can be hazardous. Frank Wood ------------------------------ Subject: RE: tilting at windmills? Date: Thu, 16 Dec 2004 12:59:35 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C662 [at] exchange.rmwc.edu> From: "Paul Schreiner" > A question. Why no masks?=20 Short answer: this was first dress. Opening, IIRC, had to be postponed until after he got out of the hospital. Longer answer: when slowing down the pace and working with concepts like the ones I've described, masks become nearly superfluous in the rehearsal process, and instead can become detrimental. They're not going to be masked during the show, why would you give them the false sense of security by giving them a mask for 80% of it and then say "whoops, can't use that any more!"? Right now, adding this into the argument boils down to "The way I work fight scenes is dangerous, so we wear masks during rehearsal and hope we've got it locked into our memory perfectly for performance." I'd rather teach a method that doesn't require additional equipment to be safe, but relies in large part on choreography that is inherently safer (though no less effective to the audience) than what you've described. ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: Rees [at] fredonia.edu Subject: RE: Civility & Passion Date: Thu, 16 Dec 2004 10:00:10 -0800 Message-ID: <00c701c4e399$168d7fd0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Harrumph! Is not Scrooge out in the hinterlands. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees Sent: Thursday, December 16, 2004 5:35 AM To: Stagecraft Subject: Civility & Passion For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I took the liberty of changing the subject line as I've taken to dumping unopened anything with this subject for several days as commentary strayed from the point of the original post. Of course, I do read anything Unka Bill sends and I gotta say - THANK YOU FOR THE REMINDER. Rein in the invective a tad folks, the kids ARE listening! I'm all for passionate civility myself. ;) Regards, Steve Bill Sapsis wrote: > > OK kids. No more fighting. Time for bed. > Geez. [snip] ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <159.468ab3f6.2ef328dc [at] aol.com> Date: Thu, 16 Dec 2004 13:07:24 EST Subject: Re: Stage Combat Choreographers... In a message dated 16/12/04 15:05:57 GMT Standard Time, slitterst [at] ithaca.edu writes: > I've kept out of this (not being a fight choreographer) until now. > There is no way to make a sword non-lethal. A pointed piece of metal > *always* has the ability to poke holes in the body. It just takes > more force. In many ways, a dull sword is more dangerous than a > properly sharpened one, simply because it will do more raw damage if > it strikes. Let us draw a distinction between stabbing weapons and cutting weapons. The latter are ususlly very blunt, and often very heavy. You will get a nasty bruise if a hit lands, but that's all. Stabbing weapons are more hazardous, even with the point blunted, but, they are flexible. Rather than going straight in, they bend rather than penetrate. > > That is not to say you should sharpen all your swords. My point is > that there should be no way for any of those moves or strikes to > land. I have been present for some pretty scary fight accidents, and > the common thread was that the weapon hit the body because it was > choreographed to do that. A parry was missed or the opponent didn't > step when they should. This is why you need a fight arranger. I don't think that you can arrange a realistic fight unless all the hits are visibly aimed at the target. We owe that to the audience. And this is why extensive rehearsals are vital. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <88.1c1ba956.2ef329bc [at] aol.com> Date: Thu, 16 Dec 2004 13:11:08 EST Subject: Re: Stage Combat philosophies In a message dated 16/12/04 15:32:32 GMT Standard Time, pschreiner [at] rmwc.edu writes: > If the choreographer comes into the beginning of the rehearsal process > and meetings with the director with this sort of expectation, you'll be > a lot closer to finding the requisite amount of time. Remember also > that "rehearsal time" doesn't need to be formal, nor does it require the > use of the stage (blocking out its use for other rehearsals) until later > in the process. It's a big IF. It is how I should like to work. But few directors see this. Frank Wood ------------------------------ Message-Id: Date: Thu, 16 Dec 2004 13:11:45 -0500 From: "LES LIND" Subject: Barnum tightrope We're thinking about doing Barnum in the future. Is it possible to rig up a tightrope "freestanding" without having to tie into walls. It couldn't be far off the deck because our proscenium is only 14' high. Also I'd like to be able to stretch the cable druing the course of the show. (not during a blackout). Les Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA ------------------------------ Date: Thu, 16 Dec 2004 13:33:23 -0500 From: IAEG [at] aol.com Subject: Re: Barnum tightrope Message-ID: <2D4CB029.00F5B496.00002B9E [at] aol.com> there are performers who use free standing tightropes, ( almost all such gear is custom made by the performer ) the usual configuration reguires a fairly substantial beam across the bottom to take the stress, , , not sure you want that beam sitting out there... the tension that this wire ( we are talking steel cable here, , not hemp rope ) has to be under some serious tension ( usually provided by any number of possible winch set up ) most tight ropes are really 5/8 - 3/4 steel cable, , a few acts I know use braided steel elevator cable, it supposed has a better "feel" under the feet good luck keith arsenault iaeg tampa, florida ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Barnum tightrope Date: Thu, 16 Dec 2004 13:47:43 -0500 > We're thinking about doing Barnum in the future. Is it possible to rig > up a tightrope "freestanding" without having to tie into walls. When the Actors Company performed Barnum at Fulton Opera House in '91 they did theirs anchored into the deck and was rigged during the scene as part of the show IIRC. There were two anchors mounted on stage floor just upstage of proscenium line and just onstage of curtain line. A large diameter ( [at] 1") non rotating cable was run from one welded steel standard to another. These standards were placed [at] 3' away from the anchors and then I forget if one was clipped and the other ratcheted with a come-along or if both sides had come-alongs from the floor anchor to the top of the standards. IIRC it was 5'-6' from the floor and about 25' long and worked very well. As I think about it more, the large cable might have gone through a ring on the one stanchion and attached to the anchor on the floor while the other went through the second stanchion, then attached to the come-along and that was fastened to the second floor anchor. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Stage Combat Choreographers... Date: Thu, 16 Dec 2004 11:52:49 -0700 Your age is showing. Pin boys?, heck, they even keep score automatically these days. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis Johnny, the impressionable high school sophomore who was thinking about going into this business might just decide that being the pin boy at the local bowling alley would be a better choice. (don't tell anyone but there are times I've thought that way too.) ------------------------------ Message-Id: <6.2.0.14.0.20041216104944.0393e950 [at] localhost> Date: Thu, 16 Dec 2004 10:53:45 -0800 From: Jerry Durand Subject: Re: Stage Combat Choreographers... In-Reply-To: References: At 09:42 AM 12/15/2004, you wrote: >Here, I disagree, although this ought to have been sorted out at rehearsals. >In a well choreographed fight, if I get hurt, it's my fault. I have made a >bad >move. > > >Frank Wood I'll add that my wife's stage fight trainer said if he ever got mugged it would be hysterical since he'd be making all these moves but not actually hitting the mugger. Oh, and she was also taught that you look out for your partner, you do nothing that could possibly hurt the other person. She did try one of the tourist-level sword fights at a Ren Faire years ago, really surprised the other person that she knew how to handle a broadsword. :) ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: Date: Thu, 16 Dec 2004 12:59:12 -0600 From: "Phil Johnson" Subject: Re: rosco 1500 fogger Thanks for all the info on rosco foggers. I'll try working on it over the break and see. I like my hazer much better anyway. It's really sad that after reading the many replies the number of people who followed the water cleaning method and had problems. Perhaps Rosco could help some of us out with a fix? Philip Johnson Designer/Technical Director Texas A & M University - Corpus Christi ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Holiday advice Date: Thu, 16 Dec 2004 12:07:41 -0700 One more hint about leaving this mortal coil: Have your last check bounce. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of CATHERINE BRUMM Remember this motto to live by: "Life should NOT be a journey to the grave with the intention of arriving safely in an attractive and well-preserved body, but rather to skid in sideways, chocolate in one hand, martini in the other, body thoroughly used up, totally worn out and screaming "WOO HOO what a ride!" ------------------------------ Subject: Re: Comment on lighting design Date: Thu, 16 Dec 2004 11:22:16 -0800 Message-ID: From: "Michael Finney" On Wed, 15 Dec 2004 Herrick Goldman wrote: <> <> <>=20 Yeah - what Herrick said! Seriously though - Todd, my first question would be "do you feel that the photos provide a good representation of how the work actually looked on stage?". It actually ends up being an important question, since I bet a lot of us know some beautiful work that photographed badly (and I *know* I've reviewed portfolios where the photographs looked infinitely better than the actual design....)('fession...I have some of my *own* stuff that photographed a lot better than it looked in real life...and it's really tough to resist the temptation to include it in the portfolio...but it wouldn't be an honest representation of the work...)(darn it). Todd, I'll shoot you a quick opinion or two off-list, but let me say publicly that I think you did a nice job here. I especially like how you handle your fairly intense warm colors without getting "cartoony" on the actors. And your explanation of your approach was nicely done. *Love* seeing a design who can explain things in writing! I'm definitely with Herrick about the value of focusing on more "dramatic" shots in a portfolio - when reviewing a designers work, I always assume that they can probably manage to light the stage evenly...and what I'm looking for is how they deal with the more challenging stuff. Plus I just like pretty pictures (and side light). I would comment that I've tried to get in the habit of shooting at least a couple of close-ups and a couple of "arty" photos whenever I have the chance to do that for a design. Part of that is to provide me with a "hero" shot or two for the marketing folks to use and part of it is to push myself a bit as a photographer. If you have the opportunity, it's a good idea to try for that - keep in mind that at least one of the purposes of the photos in a portfolio are to make a person who's looking at the page quickly *stop* and look in more detail. A nice "drama" shot or two sure helps. BTW - Herrick, whaddyamean "50 opinions"? Just 50? Heck, you and I can probably come up with at least 50 self-contradictory opinions of a design at any given moment! And a happy darn ChannaKwanzaSolsticeMas to you! Now, I'm going back to ignoring a couple of threads 'cause them make me want to thump people with a stick...safely, and in a well choreographed manner, of course.... Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com =20 http://www.thinkwelldesign.com =20 =20 ------------------------------ Message-Id: <200412161942.OAA10660 [at] playhsn.cincyplay.com> From: "Stirling Shelton" Subject: Saw Stop, I LOVE THEM Date: Thu, 16 Dec 2004 14:43:33 -0500 Long post: Slight Ad. We are getting two of these saws. I think they are GREAT. Here is why? The U.S. Consumer Product Safety Commission reports that there were approximately 33,000 injuries from table and bench saws in 1998 that were sufficiently serious to require a hospital visit. Of these injuries, approximately 95% were hand and finger injuries, with approximately 3000 amputations of one or more fingers. These injuries can now be minimized or completely avoided with SawStop technology. Why would you not want the safes saw? The SawStop system works by recognizing the difference in the electrical properties of wood and a user. The system induces a high-frequency electrical signal on the blade of a table saw and monitors this signal for changes caused by contact between the blade and a user's body. The signal remains unchanged when the blade cuts wood because of the relatively small inherent electrical capacitance and conductivity of wood. However, when a user contacts the blade while the saw is operating, the electrical signal changes because of the relatively large inherent capacitance of the user's body . The SawStop system detects this change in the electrical signal and immediately forces a brake into the teeth of the blade. The brake absorbs the energy of the blade, bringing the blade to a complete stop in approximately 5 milliseconds. Unlike blade guards that are often removed or misused, SawStop technology provides an active safety system that continuously monitors for accidental contact with the saw's blade, regardless of user training, fatigue or misuse. Unlike blade guards, a safety system incorporating SawStop technology provides an always on, non-removable safety system. The system's brake is housed in a cartridge that is easily replaced should the system ever be triggered. These replaceable cartridges enable the system to be quickly adapted for use with different sizes and types of saw blades. Just some more information: Saw STOP: 10" Cabinet Saw including: $2,499.00 (US) 3 hp TEFC motor, 230V, 1 ph. or 3 ph., 60 Hz Heavy-duty arbor & arbor bearing Contact detection & braking system European-style riving knife to minimize kickback Cast iron table & extension wings Cast iron, widely-spaced trunnions Miter gauge T-slots Zero-clearance insert Blade shroud dust collection Blade guard with anti-kickback pawls You compare: POWERMATICR MODEL 66 10" TABLESAW PROVIDES VIRTUALLY VIBRATION FREE CUTTING $2,099.00 (US) A venerable standard in many production shops, the POWERMATICR 1660760K Model (mobile base not included) is not only a super durable and accurate workhorse, it has many features that make it easier to use, such as the left tilting blade, which prevents binding on bevel cuts: . 230VAC, 3HP, 3,600 RPM, 1PH magnetic control motor - 5/8" arbor. . Solid cast iron handwheels, 3 belt drive, wide stance motor mount trunnions and 50" Accu-fence help make this a strong, long lasting addition to your shop. . 50" maximum rip cut right of blade, 12" left. . 28" x 37-1/2" cast iron table. . 4" dust collection port. . Includes fence, left and right cast iron extension wings, blade guard and splitter, arbor wrench, motor pulley, miter gauge and enclosed stand (blade, power cord and motor cover not included). . 34"H x 32"W x 57-5/8"D, weighs 525 lbs. . One-year manufacturer's warranty. . USA. $400 for a saw that can not cut me! For me this was very easy. Buy the safes saw. For me that was SAW STOP We have ordered both the Cabinet saw, their top of the line, and the Contractor Saw , their general purpose saw. This is the answer to the problem, a Saw with a built in sensor that will not cut human flesh. WOW. The new brake cartridge cost about $85.00. So bring $85, a chicken leg or hot dog and you can see how this works for your self. We have been waiting for our saws for a while. As of this note, we are excepting the new saws in MARCH. I can not say enough good things about this saw and this company. Stirling Shelton Technical Director Cincinnati Playhouse in the Park 2827 Gilbert AVE Cincinnati, OH 45206 513-345-2255 ext 302 ------------------------------ Message-ID: Reply-To: From: "Delbert Hall" Subject: RE: Barnum tightrope Date: Thu, 16 Dec 2004 14:44:47 -0500 Organization: Delbert Hall Message-ID: In-Reply-To: I have rigged several tightwires for BARNUM and for a theme park and = have always used 5/8" non-rotating cable for the "wire". Keith is correct, = for a "portable" tightwire you do need some type of strong beam at the bottom. Actually, the taller you want the cable, the stronger this beam (and the bracing for the uprights) will need to be. For one production I = designed two 4'x 8' wagons that joints together to form a 4'x16' tightwire stand. The tightwire (10 feet long) was tensioned by using a heavy ratchet = strap. =20 You can purchase a portable tightwire for $350. The cable is only 16" = off the floor, but if that will work for you, it is a cheap solution. Check = it out at: https://secure.highspeedweb.net/~sem/product_info.php?products_id=3D26&os= Csid=3D de4d8624d205f6ead0938d3c3a0c10b6 BTW, I have two trapeze and two Spanish webs that I have used for = BARNUM, if you need other circus act equipment. -Delbert =20 Delbert L. Hall 423-773-HALL =20 =20 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.813 / Virus Database: 553 - Release Date: 12/13/2004 =20 ------------------------------ Message-Id: <3.0.6.32.20041216130743.01816740 [at] pop.west.cox.net> Date: Thu, 16 Dec 2004 13:07:43 From: CB Subject: Marting Fogger (was: Re: rosco 1500 fogger) >Last year I bought two replacement pump kits for our two 1500s. They were less than $30 each. HMMmmm.... I've got an old Martin Magnum 1200 fogger that the heating element seems to be clogged on, so I pretty much had given it up as dead. Any idea if I could get a replacement for that anywhere? I've searched a bit online, and Martin has some old .pdf's for it, but other than that it seems to be an orphan. Anyone have any ideas? Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Thu, 16 Dec 2004 15:42:24 -0500 From: MissWisc [at] aol.com Subject: Re: Barnum tightrope Message-ID: <1E068726.1F031918.007B9F2A [at] aol.com> Another way to do it... Make the "rope" a line on the stage (think A Chorus Line) and have the actor make a big deal about having to carefully walk the line - perhaps with a parasol or balance bar. Can set it up to be upstage to downstage rather than side to side too. I've also seen it done where the actor walked across 1 inch thick ply wood 2' x4' "platforms" held by 4 actors... two "platforms" so he was standing on one as the other one was brought infront, he'd step onto the next one and wait for the first to be brought around too. This would, of course, require 8 VERY strong people to hold the actor. Kristi ------------------------------ In-Reply-To: References: Message-Id: <2B4B5B94-4FA3-11D9-952F-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: (ot)Barnum tightrope Date: Thu, 16 Dec 2004 15:43:40 -0500 > You can purchase a portable tightwire for $350. The cable is only 16" > off > the floor, but if that will work for you, it is a cheap solution. > Check it > out at: > > https://secure.highspeedweb.net/~sem/product_info.php? > products_id=26&osCsid= > de4d8624d205f6ead0938d3c3a0c10b6 OFF TOPIC: When I check out the site and "click to enlarge" it opens a window with a pic the same size or smaller. Is this something I am doing wrong or have a wrong setting or is it the website? Thanks for the help. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <3.0.6.32.20041216135800.01816740 [at] pop.west.cox.net> Date: Thu, 16 Dec 2004 13:58:00 From: CB Subject: Re: Fire in Tucson Convention Center Arena >Usually the set decorator and painters are not "on set" during filming. It really depends on the production. I've been on may where the set decs and artists were the entertainment for the crew. With most of the shooting being done in the sound stage, I'm guessing that they had two or more sets going in the building at any given time, one working, one shooting. They also hang out in destructive situations, when a set needs to be re-set after every take. >How do you do the exploding creamer trick... just for the information of >course, so I can say "Never do exactly this..." Just like a silo explosion. Just about any dry particulate vegetable matter will create a nice lil 'FOOF!' when ignited in suspension. You can trickle the stuff next to a flame for a bit of sparkly, or toss it in the air at a bic lighter. Put it in your mouth (ugh!) or a straw, and blow it at an open flame. Get a coffee can. Put a half inch of flour on the bottom. Put a hole in the side of the can near the bottom. Get a straw. Put it through the hole so it sticks into the flour. Light a candle, and put it in the bottom of the can, using the four to hold it upright so it doesn't go out. Strong puff on the straw, and *VIOLA!*, someone's going to the emergency room! Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Barnum tightrope Date: Thu, 16 Dec 2004 15:55:00 -0500 I am intrigued by this so I googled "portable tightrope" and came up with http://www.20six.co.uk/weblogEntry/1esmw1lwmvj59 Might be worth a look Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: Subject: Re: Barnum tightrope Message-ID: From: Christopher Haas CEHAAS Date: Thu, 16 Dec 2004 16:01:58 -0500 Maybe it's just me, but the wire rope clips look like they are installed backwards on one side and the spacing is definitely wrong. :) Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Message-Id: <3.0.6.32.20041216140917.01816740 [at] pop.west.cox.net> Date: Thu, 16 Dec 2004 14:09:17 From: CB Subject: Re: contrast ratios >None of this current information contradicts Frank's comments about >the deleterious effects of ambient light. Of course, those comments were in response to my comments refuting his earlier comment that the max contrast ratio one could achive on a television was 30:1. While his other comments may contain some truth, I still stand by my question. Can you refer to it as the maximum achievable, when you can double it (at least) by simply turning out the lights? My issue was, and still is, with the comment that a contrast ratio greater than 30:1 isn't achievable with a television. I'm sure that Frank feels diferently than his original post, as you quoted his post which states "conditions, 50:1 is usually what is percieved by the viewer. If you start off with 100:1, 2% of peak white level being reflected from the screen will knock it back to 34:1. ", which would indicate to me that he has accepted contrast ratios in excess of 30:1 wighout actually saying that he agrees with me, those levels are achievable. Don't take your eye off the cards, Frank is very quick with the old 'slight of subject' trick... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ In-Reply-To: References: Message-Id: <8B7217DF-4FA6-11D9-952F-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Barnum tightrope Date: Thu, 16 Dec 2004 16:07:50 -0500 I think he got the turnbuckle end correct. It was only for his daughter anyway. Maybe he didn't like her that much. ;-) NOTE the winking smiley before you flame me. Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <254B6924-4FAF-11D9-BB58-000A95D99210 [at] hillmardesign.com> From: gregg hillmar Subject: Re: Saw Stop, I LOVE THEM Date: Thu, 16 Dec 2004 17:09:24 -0500 I'd like your opinion AFTER you've had them to use for a season or two. A shop I used for a while had one and replaced it after five or six unexplained stops and the resulting $85 to replace the braking mechanism. Each time. Not to mention the down time on the table saw. So despite the minor difference in initial cost, ongoing costs were very high. I TOTALLY agree that anything that can improve safety should be investigated. I have a brother-in-law who lost a finger to a table saw, despite being a totally safety-concious professional who uses table saws every day. My only exposure to this device was the impression that it was not ready for prime time. I am, however, exceedingly interested in your opinions a year from now. g. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige On Dec 16, 2004, at 2:43 PM, Stirling Shelton wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Long post: Slight Ad. > > We are getting two of these saws. I think they are GREAT. Here is > why? > > The U.S. Consumer Product Safety Commission reports that there were > approximately 33,000 injuries from table and bench saws in 1998 that > were > sufficiently serious to require a hospital visit. Of these injuries, > approximately 95% were hand and finger injuries, with approximately > 3000 > amputations of one or more fingers. These injuries can now be > minimized or > completely avoided with SawStop technology. Why would you not want the > safes saw? > > The SawStop system works by recognizing the difference in the > electrical > properties of wood and a user. The system induces a high-frequency > electrical signal on the blade of a table saw and monitors this signal > for > changes caused by contact between the blade and a user's body. The > signal > remains unchanged when the blade cuts wood because of the relatively > small > inherent electrical capacitance and conductivity of wood. However, > when a > user contacts the blade while the saw is operating, the electrical > signal > changes because of the relatively large inherent capacitance of the > user's > body . The SawStop system detects this change in the electrical signal > and > immediately forces a brake into > the teeth of the blade. The brake absorbs the energy of the blade, > bringing > the blade to a complete stop in approximately 5 milliseconds. > > Unlike blade guards that are often removed or misused, SawStop > technology > provides an active safety system that continuously monitors for > accidental > contact with the saw's blade, regardless of user training, fatigue or > misuse. Unlike blade guards, a safety system incorporating SawStop > technology provides an always on, non-removable safety system. > > The system's brake is housed in a cartridge that is easily replaced > should > the system ever be triggered. These replaceable cartridges enable the > system > to be quickly adapted for use with different sizes and types of saw > blades. > > Just some more information: > > Saw STOP: > 10" Cabinet Saw including: $2,499.00 (US) > > 3 hp TEFC motor, 230V, 1 ph. or 3 ph., 60 Hz > Heavy-duty arbor & arbor bearing > Contact detection & braking system > European-style riving knife to minimize kickback > Cast iron table & extension wings > Cast iron, widely-spaced trunnions > Miter gauge T-slots > Zero-clearance insert > Blade shroud dust collection > Blade guard with anti-kickback pawls > > > You compare: > > POWERMATICR MODEL 66 10" TABLESAW PROVIDES VIRTUALLY VIBRATION FREE > CUTTING > > $2,099.00 (US) > > A venerable standard in many production shops, the POWERMATICR 1660760K > Model (mobile base not included) is not only a super durable and > accurate > workhorse, it has many features that make it easier to use, such as > the left > tilting blade, which prevents binding on bevel cuts: > . 230VAC, 3HP, 3,600 RPM, 1PH magnetic control motor - 5/8" arbor. > . Solid cast iron handwheels, 3 belt drive, wide stance motor mount > trunnions and 50" Accu-fence help make this a strong, long lasting > addition > to your shop. > . 50" maximum rip cut right of blade, 12" left. > . 28" x 37-1/2" cast iron table. > . 4" dust collection port. > . Includes fence, left and right cast iron extension wings, blade > guard and > splitter, arbor wrench, motor pulley, miter gauge and enclosed stand > (blade, > power cord and motor cover not included). > . 34"H x 32"W x 57-5/8"D, weighs 525 lbs. > . One-year manufacturer's warranty. > . USA. > > > $400 for a saw that can not cut me! For me this was very easy. Buy > the > safes saw. For me that was SAW STOP > > We have ordered both the Cabinet saw, their top of the line, and the > Contractor Saw , their general purpose saw. This is the answer to the > problem, a Saw with a built in sensor that will not cut human flesh. > WOW. > The new brake cartridge cost about $85.00. So bring $85, a chicken leg > or > hot dog and you can see how this works for your self. We have been > waiting > for our saws for a while. As of this note, we are excepting the new > saws in > MARCH. I can not say enough good things about this saw and this > company. > > Stirling Shelton > Technical Director > Cincinnati Playhouse in the Park > 2827 Gilbert AVE > Cincinnati, OH 45206 > 513-345-2255 ext 302 > ------------------------------ Message-Id: <6.2.0.14.0.20041216141715.0393e750 [at] localhost> Date: Thu, 16 Dec 2004 14:17:51 -0800 From: Jerry Durand Subject: Re: the ethos of sound (and light?) In-Reply-To: References: At 05:34 AM 12/15/2004, you wrote: >I don't mix much for televison anymore, but when I did I would bring a >small portable set into the control room with me to check my mix on that. >Shaders and vision mixers would occasionally stop in to see what their stuf >looked like, and soon there was a televison in the video portion of a few >control rooms! Good job! I wish more people cared about their work. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <5.0.0.25.2.20041216192709.01b06948 [at] 212.86.129.164> Date: Thu, 16 Dec 2004 19:30:59 -0500 From: Nathan Kahn/Look Solutions Subject: Re: cheapo foggers In-Reply-To: References: At 10:45 AM 12/16/2004 -0500, you wrote: >Note that better machines also have redundant thermostats or other >over-temperature protection devices. If the main thermostat for the >heater block fails in the "on" position and there is no safety >backup, you could have a serious problem. The overheated fog is not >something you want to breathe and the heater block may melt or start >a fire. I have one of these cheapo foggers I disassemble for fog >demonstrations; I haven't found its back-up overtemperature >protection device, if it has any at all. I thought most cheapo foggers had a coffee machine thermal fuse stuffed into the block's insulation. You can see the wires sticking out. Well perhaps that's just the high end cheapo models . . . (How's that for an oxymoron! :-) Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <97.54ea9eb8.2ef384c1 [at] aol.com> Date: Thu, 16 Dec 2004 19:39:29 EST Subject: Re: tilting at windmills? In a message dated 16/12/04 18:00:37 GMT Standard Time, pschreiner [at] rmwc.edu writes: > Right now, adding this into the argument boils down to "The way I work > fight scenes is dangerous, so we wear masks during rehearsal and hope > we've got it locked into our memory perfectly for performance." I'd > rather teach a method that doesn't require additional equipment to be > safe, but relies in large part on choreography that is inherently safer > (though no less effective to the audience) than what you've described. Working fight scenes is always dangerous. How you, as a fight arranger, minimise the dangers is always up to you, and you must always bear in mind that the fight MUST seem real to the audience. Working out of distance will possibly succeed with stabbing weapons, but not with cutting ones, particurlarly if shields are to be used. I have seen the eponymous character in the Scottish Play with a face full of shield. It all comes down to precise choreography, and adequate rehearsal time. Both are important. I have seen shows where the antagonists wre just given their swords, and told to work it out for themselves. I was the LD, but I still think it criminally stupid. For my own part, rehearsals are run with masks, until I am satisfied that the moves have ben properly learnt. No director sends his actors on stage without knowing their words and moves, or at least I hope not. Why should fights be different? Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f6.367e3a4.2ef38a07 [at] aol.com> Date: Thu, 16 Dec 2004 20:01:59 EST Subject: Re: contrast ratios In a message dated 16/12/04 21:07:31 GMT Standard Time, psyd [at] cox.net writes: > Of course, those comments were in response to my comments refuting his > earlier comment that the max contrast ratio one could achive on a > television was 30:1. While his other comments may contain some truth, I > still stand by my question. Can you refer to it as the maximum achievable, > when you can double it (at least) by simply turning out the lights? If it is transmitted, yes. But it is contra-indicated to watch TV in an otherwise unlit room. > My issue was, and still is, with the comment that a contrast ratio greater > than 30:1 isn't achievable with a television. > I'm sure that Frank feels diferently than his original post, as you quoted > his post which states "conditions, 50:1 is usually what is percieved by the > viewer. I'll go for 40:1. This thread has stimulated the old grey cells, and my 30:1 figure may belong to film, rather than to TV. And, film designed to be viewed on TV. I go back to the days when TV shows were recorded on film, and it was a pain in the ass. The margins for error were approximately zero. It was a very dodgy technique, but we made it work. That, of course, was in the days of monochrome. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <15b.4683ef52.2ef38a8e [at] aol.com> Date: Thu, 16 Dec 2004 20:04:14 EST Subject: Re: the ethos of sound (and light?) In a message dated 16/12/04 22:18:43 GMT Standard Time, jdurand [at] interstellar.com writes: > >I don't mix much for televison anymore, but when I did I would bring a > >small portable set into the control room with me to check my mix on that. > >Shaders and vision mixers would occasionally stop in to see what their stuf > >looked like, and soon there was a televison in the video portion of a few > >control rooms! > > Good job! I wish more people cared about their work. Hear, hear. What else can I say? Frank Wood ------------------------------ Date: Fri, 17 Dec 2004 01:08:47 +0000 (GMT) From: Charlie Richmond Subject: Re: the ethos of sound (and light?) In-Reply-To: Message-ID: References: On Thu, 16 Dec 2004 FrankWood95 [at] aol.com wrote: > Hear, hear. What else can I say? What is this group doing discussing the limitations of a medium that has none of the freedom of the live stage? What is the point? Of course, the live stage has lots of limitations that TV and film don't have. Can we talk about a hypothetical performance environment which shares all of the the advantages and none of the disadvantages of both? I didn't think so.. ;-) Charlie ------------------------------ Message-ID: From: "RICHARD FINKELSTEIN" Subject: Meilziner memorabilia for sale Date: Thu, 16 Dec 2004 20:54:32 -0500 Listers. I received the following note through my Artslynx resources. I already advised this nice lady on all sorts of issues from the archival problems of blueprints (as opposed to original vellums) to the alternative of donating to the major collections such as The Billy Rose Theatre Library at Lincoln Center in NY. I did offer though to post this to the list as well so if there are any takers here is her original note with contact information. Richard Finkelstein Head of Design. James Madison U and Artslynx >----- Original Message ----- >From: "Valerie Vrieze" >To: >Sent: Wednesday, December 15, 2004 10:45 AM >Subject: Jo Meilziner > > >Dear Richard, >Perhaps you can help me find someone who is interested in Jo Mielziner's >stage designs. I have fourteen blue prints for the set of "Death of a >Saleman," copyright 1949. They include the union seal and Jo Meilziner's >initials. Some of the blue prints have been altered slightly with ink >changes. There also is a cast photo of the scene at Willy's grave. These >blue prints and photo were given to my late husband by Mason Arvold who >worked on the set, so I know they are authentic. >Mason also gave my husband the scene design for Act II of "The Flying >Dutchman" by Robert Edmund Jones. That, too, I might be interested in >selling. >I live in Frostburg, MD and could meet any interested party in Washington, >DC. >Sincerely, >Valerie Vrieze ------------------------------ Message-Id: In-Reply-To: Date: Fri, 17 Dec 2004 09:11:19 +0000 From: Dorian Kelly Subject: Re: the ethos of sound (and light?) . Frank Wood said >Hear, hear. What else can I say? Dont worry Frank, You'll think of something Dorian ------------------------------ End of Stagecraft Digest #230 *****************************